CONTENTS
2021 FREDERICK HAMMERSLEY ARTIST RESIDENCY
Support provided by the Frederick Hammersley Fund for the Arts at the Albuquerque Community Foundation
6 Introduction
DIANA GASTON, DIRECTOR
8 Already
NANCY ZASTUDIL
16 Henni Alftan in the Workshop 2021 FREDERICK HAMMERSLEY ARTIST RESIDENCY
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Tamarind Editions
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Henni Alftan Bio
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Tamarind Institute
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INTRO DUCTION DIANA GASTON, DIRECTOR TAMARIND INSTITUTE
Paris-based painter Henni Alftan arrived at Tamarind Institute in the winter of 2021, just days after the European travel sanctions were lifted. Alftan is relatively new to printmaking, but was intrigued by the opportunity to explore her visual ideas in a different medium. Her own studio practice incorporates a level of planning and preparation that translates well to lithography’s technical process and the workshop’s efficiency. During her residency, she worked closely with a team of skilled printers led by Tamarind Master Printer Valpuri Remling, with Frederick Hammersley Apprentice Printer Lindsey Sigmon; together they completed three elegant lithographs, one of which was executed in five parts. Each print engages ideas of time, movement, transparency and the language of ink on paper.
Alftan’s work speaks to contemporary experience and domestic life through “small everyday observations,” as described by the artist. Her approach encourages focused seeing, calling out highly refined details at a distinct point in time. The imagery is at once familiar and confounding, with the artist further disrupting the picture plane by flattening forms, exaggerating texture and pattern details, and suspending time. During this residency with Tamarind, Alftan was able to experiment with lithography’s multiple layers and transparencies, bringing a new
surface and a play with simultaneity to her rich narrative fragments. The familiar is made all the more compelling, even newly extraordinary, through her persistent observation. Tamarind Institute is grateful to the New Mexico community for its support of this residency and its related programs. The Frederick Hammersley Artist Residency was made possible through the generous support of the Frederick Hammersley Fund for the Arts at the Albuquerque Community Foundation.
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ALREADY
NANCY ZASTUDIL ART DIRECTOR, WRITER, AND CURATOR LIVING IN ABQ
My images are not new. I did not really invent them. It is as if they were already there. — HENNI ALFTAN
Four peach-hued bare feet, the movements of which are superimposed, make their way through the gray ground of five different compositions. Each planted foot casts an oval shadow, and the angled calves, tipped toes, and lifted heels indicate a slight bend in the knees, a shifting and shuffling of weight happening just outside our view. We glimpse the bottom hem of olive green pants, merely above the ankles, a fabric checkered by dark lines. The scene is at once active and quiet, familiar but truncated.
A technique used in cinema is to show as little as possible in order to appeal to the imagination, juste au-delà, meaning “just beyond.” Henni Alftan’s pictures, as she calls them, such as the seven-color lithograph Dancing, I-V (2021) described above, show us everything by limiting what we see: we are keenly aware of the presence of an absence. We owe our affinity for this tableau—our ability to psychically complete the picture—to our lived experiences, including the myriad of images we have already seen.
Alftan recently extended her interest in active looking to the medium of printmaking, embracing the process of collaborative lithography during her 2021 Frederick Hammersley Artist Residency at Tamarind Institute. Not wanting any of her solutions to become automatic, she created three new editions, of which Dancing is one. The residency was an opportunity for building pictures that, she says, wouldn’t make sense to create in painting but that lend themselves to printmaking.1
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Born in Finland, Alftan studied art in Paris (where she currently lives and works), receiving her MFA from Ecole Nationale Supérieure des Beaux-Arts. She experimented with paint more so than she was taught to paint. As critic and art historian Dr. Elizabeth Buhe writes, today Alftan’s “iconographic sampling conjures the philosophical, temporal, material, and conceptual concerns of art history… painting in particular.”2 For example, in Translucent II (2019) Alftan paints a white polka-dot-printed sheer lavender fabric by way of its relationship to the background, a horizon line created by the meeting of two swaths of color, green and blue. The painting situates
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us, the viewer, in the artist’s position of looking. We stand where she stood while painting the picture.3 A pair of hands holds up the fabric, perhaps a scarf or shawl, to show the fabric’s “see-through” nature. The polka dots, simultaneously sitting within the lightweight fabric and on the surface of the picture plane, wrestle with illusory depth. Arguably, the image is an abstraction. Picture building by way of image sequencing and revisiting subject matter offers Alftan a strategy through which she develops a loop of referential familiarity within her own work. White dots also appear in Snow in the City II (2020) and Snow in the City III (2021); fabric patterns
act as sly substitutes in Hemline (Déjà-vu) (2019) and Curtain (2020); and hanging beaded curtains serve as room dividers in the domestic interiors of Beads (2017) and Triple (2018). In Beads, she also employs the butcher knife, as in other works, as a surface for depth and reflection, whether that act be understood as one of looking or remembering. Further, Triple (2018) combines Alftan’s interest in multiplicity, mirroring, and geometric abstraction in one pictorial space while again implying circumstances just beyond, or on the other side of, our viewpoint. Her paintings dubbed déjà-vu, translated literally as “already seen,” function as one piece. Self-conscious and self-aware,
Previous Page: Henni Alftan, Dancing III, 2021, seven-color lithograph on Grey Somerset Satin, Collaborating Printers: Valpuri Remling and Lindsey Sigmon, Edition of 30. Left: Henni Alftan, Translucent II, 2019, oil on canvas, 31 7/8 x 39 3/8 inches, courtesy the artist. Opposite: Henni Alftan, Dancing I-V, 2021, seven-color lithographs on Grey Somerset Satin, Collaborating Printers: Valpuri Remling and Lindsey Sigmon, Edition of 30.
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Above: Henni Alftan, Ajar (Déjà-vu), 2019, oil on canvas, two parts: 23 5/8 x 28 3/4 inches each, courtesy the artist. Opposite: Frederick Hammersley, Deja view, #3, 1996, Oil on linen, 30 x 30 inches, Walter and Elise Mosher Memorial Fund, Courtesy Benton Museum of Art at Pomona College.
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the two paintings of a similar picture are exhibited in different rooms, out of the viewer’s line of sight but within a frame of mind, on the periphery of memory and experience. Déjà-vu, as a phenomenon that causes the past and present to be fluid, overlaid, is also seen in Smile (2021), another of Alftan’s newly created
Tamarind editions. The seven-color lithograph shows a mouth, deep pink lips, within a putty-colored field. We see two pictures simultaneously, the pink forms “move” between concentrated, contained color to expanded and translucent. The print can be seen as yet another layer of experience relating to elements of Bring
it On (Déjà-vu) (2019) wherein one painting shows us a relaxed pair of lips and the other with lips smiling, both with a bruise near the corner of the mouth. Similarly, the sheer stockinged feet in Tiptoeing (Déjà-vu) (2019) relate to the bare ones shown in Holiday (2016) and now in Dancing, a scene that also brings to mind the checked fabric pattern of Pocket (2020).4 Alftan begins all of her paintings “as a text description of the subject she has in mind, from which she synthesizes a visual plan.”5 And although she created multiple sketches for Dancing, she found herself unable to visualize the exact end result due to the reverse image building nature of lithography. Explaining that she has been painting since she was young, having grown up with the medium of paint, she drew a blank, as it were, in the early stages of her Tamarind residency experience. Intriguing yet stressful, Alftan embraced the experience because the impetus for accepting Tamarind’s invitation was to “do something,” something that she “couldn’t do in painting without faking it.”6 Admittedly, a few pleasing surprises occurred
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along the way that she couldn’t have predicted, such as the visually hypnotic effect of layering translucent inks to create multiple superimposed forms.7 We, as human beings, have an uncanny ability to see images everywhere, and according to Alftan, paint is ideal for that—it is color and mass on which we project. How is it that we see? Is a picture inextricable from subject and meaning? Where does an image reside? At what point does hard-edge abstraction start to look like an architectural interior?8 Frederick Hammersley, the artist for whom Alftan’s 2021 Tamarind residency is named, explored similar ideas in the geometric hard-edge abstract paintings for which he
Right: Henni Alftan, Tiptoeing (Déjà-vu), 2019, oil on canvas, two parts: 28 3/4 x 23 5/8 inches each, courtesy the artist. Opposite: Multiple layers of drawing in process for Dancing I-V matrices.
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is best known.9 The rectangular forms and perspectival color blocks that make up the pictures of an open and closed door in Alftan’s painting Ajar (Déjà-vu) (2019) can be considered alongside Hammersley’s painting fittingly titled Deja view, #3 (1996), a mirrored composition of shadowy gray-blues and light-like yellow.
When does an abstraction become a figure and vice versa? Hammersley drew from life throughout his life as an artist, his practice deeply rooted in looking. The time he spent drawing and redrawing nudes, portraits, and still lifes directly informed the proportions, colors, and compositions of his paintings. He even tested his eye
How is it that we see? Is a picture inextricable from subject and meaning? Where does an image reside? At what point does hard-edge abstraction start to look like an architectural interior? for and hand at photography; his black and white photograph titled Knee portrait #2 (1970) exemplifies how he looked for the line between the human figure and abstract form. Alftan’s painting Corduroy (2021) and Woman’s Work (2015) show a similar pursuit. Alftan’s third Tamarind edition, a four-color lithograph titled The Next Day, seems to emerge from her continual questioning: What bit of information will make us continue to see what we are looking for? An abbreviated composition of a bicycle on a city street or sidewalk covered in snow alludes to what has already happened, the snow that has fallen,
burying all but the most recognizable bits and pieces. As in Comedienne (2013), the paint (and here, ink) serves as a standin for, rather a rendering of, an object, a readied scene. Again, we are left looking to make meaning by making sense of what we see.
Author’s in-studio conversation with the artist at Tamarind Institute, November 29, 2021.
6
Elizabeth Buhe, “The Persistence of Images,” Henni Alftan: On Earth (New York: Karma, 2020), 22.
7
Author’s in-studio conversation with the artist at Tamarind Institute, November 29, 2021.
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Author’s in-studio conversation with the artist at Tamarind Institute, November 29, 2021.
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1
2
3
4
Press release for Henni Alftan & Dike Blair, Karma × VSF, November 28, 2020–January 6, 2021, Various Small Fires, Seoul, https://karmakarma.org/exhibitions/ vsf_dike-blair-and-henni-alftan/press-release.
5
Author’s in-studio conversation with the artist at Tamarind Institute, November 29, 2021.
Author’s in-studio conversation with the artist at Tamarind Institute, November 29, 2021. Author’s in-studio conversation with the artist at Tamarind Institute, November 29, 2021.
Kathleen Shields, Frederick Hammersley: To Paint without Thinking (Pasadena: Huntington Library, Art Collections, and Botanical Gardens, 2017)
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HENNI ALFTAN in the workshop
Previous Page: Henni Alftan in the studio, painting a layer for Dancing I-V. Right: Editioning of Smile in process. Below: Lindsey Sigmon at press, editioning Smile. Opposite: Lindsey Sigmon and Henni Alftan studying trial proofs.
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HENNI ALFTAN AT TAMARIND INSTITUTE
Opposite Left: Tamarind student printer Rudolph Taylor assisting at press. Opposite Right: Apprentice Printer Lindsey Sigmon preparing plates. Left: Henni Alftan sequencing layers of Dancing I-V in artist studio. Above: Curator Ben Schoenburg and Master Printer Valpuri Remling assist Henni Alftan with signing final proofs at end of residency.
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Above: Master Printer Valpuri Remling in workshop with Henni Alftan.
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Above: Collaborative team in artist studio, studying proofs.
Opposite: Master Printer Valpuri Remling instructing Apprentice Printer Lindsey Sigmon.
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LINDSEY SIGMON
2021–2022 FREDERICK HAMMERSLEY APPRENTICE PRINTER
LINDSEY SIGMON is the 2021-2022 Frederick Hammersley Apprentice Printer.
Her apprenticeship in the professional workshop with Tamarind Master Printer Valpuri Remling includes being part of the collaborating team of printers working with guest artists and printing new editions. Her research project is the publication of a handbook providing an updated and accessible introduction to the chemistry of lithography. Sigmon is a printmaker and graduate of the Tamarind Printer Training Program (2020-2021). Sigmon received a BFA from the University of North Carolina at Asheville. After completing her Tamarind Master Printer apprenticeship in May 2022, she will continue for a second year in the Tamarind workshop as Senior Printer.
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Dancing Barefoot, 2021 Seven-color lithographs on Newsprint Grey Somerset Satin 21-309 27 x 29 1/2 inches 21-309A 27 x 25 inches 21-309B 27 x 27 1/2 inches 21-309C 27 x 26 1/2 inches 21-309D 27 x 27 1/2 inches Edition of 30 26
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Collaborating Printers: Valpuri Remling and Lindsey Sigmon
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The Next Day, 2021 Four-color lithograph on White Arches Cover 33 1/2 x 45 1/2 inches Edition of 30 Collaborating Printers: Valpuri Remling and Lindsey Sigmon
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Smile, 2021 Seven-color lithograph on White Somerset Satin 15 x 22 inches Edition of 30 Collaborating Printers: Valpuri Remling and Lindsey Sigmon
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HENNI ALFTAN
2021 FREDERICK HAMMERSLEY ARTIST RESIDENCY EDUCATION 2004 MFA, Ecole Nationale Supérieure des Beaux-Arts de Paris, DNSAP
2018 TM-Galleria, Helsinki, Horizon
2011 Gallery Artists’s Studio, Helsinki, Two Shadows
2017 Galerie Claire Gastaud, Clermont-Ferrand, France, One Sweet Moment
2007 Galerie de la Ferronerie, Paris, Henni Alftan & Susanna Majuri, Histoires singulières
2001 Exchange student at The Edinburgh College of Art, United Kingdom
Z Gallery Arts, Vancouver, Shadows in the Mirror
BFA, Ecole Pilote Internationale d’Art et de
2016
Recherche de la Villa Arson, DNAP, Nice, France
Galleria Sculptor, Helsinki, The Missing Picture Iconoscope, Montpellier, France, Entrevu
SELECTED SOLO AND TWO-PERSON EXHIBITIONS
2015 Forum Box Monttu, Helsinki, Enlighten
2021 Sprüth Magers, Berlin, Night-time 2020 Various Small Fires, Seoul, Henni Alftan & Dike Blair
2014 Galerie Claire Gastaud, Clermont-Ferrand, France
Karma, New York, Henni Alftan
2013 Galerie Anhava Studio, Helsinki
2019 Studiolo, Milan, Henni Alftan
2012 Galleria Huuto Viiskulma, Helsinki, Série noire
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2006 Pollen/Monflanquin, France, Henni Alftan: L’art de s’echapper Les Bains Douches, DAC Antibes, France
SELECTED GROUP EXHIBITIONS 2021 Albertz Benda, New York, Fragmented Bodies III Perpignan, France, Les apparences, A cent metres du centre du monde Sprüth Magers, online, Go Figure!? 2020 Nassima-Landau Project, Tel Aviv, High Voltage Balice Hertling, Paris, Gennariello (part II) Karma, New York, (Nothing but) Flowers
Born 1979, Helsinki, Finland Lives and works in Paris, France ENSA Limoges, Limoges, France, Clichés-Peintures, paintings from the collections of Frac-Artotheque du Limousin 2019 Karma, New York, Henni Alftan, Matt Hilvers, Ruth Ige, Andrew Sim Galerie Claire Gastaud, Clermont-Ferrand, France, Collection 7 2018 Galerie Claire Gastaud, Clermont-Ferrand, France, A Desired World—Contemporary Drawings Kajaani Art Museum, Kajaani Finland, The Vexi Salmi Collection Galerie Detais, Paris, Rêver deux printemps Kuntsi Museum of Modern Art, Vaasa, Finland, People in Focus; works from the Heino Foundation Collection Galerie Henri Chartier, Lyon, J’aime 2017 Hämeenlinna Art Museum, Finland, Color and Form—works from the Vexi Salmi Collection
Musée des beaux-arts de Brest, France, Les Retrouvailles, curated by Guillaume Pinard Musée des Beaux-arts de Dole, France, Peindre, dit-elle-Chap.2, curated by Annabelle Ténèze, Julie Crenn & Amélie Lavin 2016 Galerie Claire Gastaud, Clermont-Ferrand, France, J’ai des doutes, est-ce que vous en avez?, curated by Julie Crenn Galleria Lapinlahti, Helsinki, Virus Lappeenranta Art Museum, Lappeenranta, Frenzy of collecting: Works from the Veksi Salmi Collection 2015 Exhibition Laboratory, Helsinki, Cinematic Senses, curated by Ville Laaksonen Galerie Claire Gastaud, Clermont-Ferrand, France, Collection 6 Amos Anderson Art Museum, Helsinki, Shift In The Shadows; Works from the Collection
2014 Villa Emerige, Paris, Voyageurs, the nominees for Révélations Emerige, curated by Gaël Charbau Galerie Claire Gastaud, Clermont-Ferrand, France, Collection 5 Lahti Museum of Art, Lahti, Finland, Intohimona taide; Works from the Vexi Salmi Collection 2013 Purnu Art Center, Orivesi, Finland, Effect, curated by Petri Eskelinen le 6b, Saint-Denis, France, Un rembrandt comme planche à repasser Lahti Museum of Art, Lahti, Finland, Valon houkutus—Allure of Light 2012 le 6b, Saint-Denis, France, Moite, curated by Maxime Thieffine Fotographic center Nykyaika, TR1 Kunsthalle, Tampere, Finland, Present ruins, curated by Harri Laakso, Anni Venäläinen, and Anna Jensen
2009-2011 Montrouge, France, Biennale Itinérant de la Jeune Création Européenne Museu Municipal Amadeo de Souza-Cardoso, Amarante, Portugal Tecla Sala Art Center, Hospitalet de Llobregat, Barcelona, Spain Villa Croce & Sala Dogana, Genova, Italy Galerie im Traklhaus, Salzburg, Austria Pecs Art Exhibition Hall, Hungary Bratislava City Gallery, Bratislava, Slovakia Klapeida Exhibition Hall, Lithuania 2009 La Maladrerie, Auberviliers, France, MOHLL’148/ homestudioshow, curated by Florentine & Alex Lamarche-Ovize Galerie de la Ferronnerie, Paris, Hauts en couleurs, curated by Pia Setälä Montrouge, France, 54e Salon d’art contemporain de Montrouge, curated by Stéphane Corréard
Backslash Gallery, Paris, Family & Friends 2011 Backslash Gallery, Paris, Le royaume et l’exil, curated by Gaël Charbau
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2008 Galerie de la Ferronnerie, Paris, L’oeil de Poisson
2007 Parcours Contemporain, Fontenay-le-Comte, A la surface de l’eau 2005 Galerie Alain Le Gaillard, Paris, L’oeil du touriste, Paris forever, curated by Jeanne Truong Galerie Frédéric Giroux, Paris, L’oeil du touriste, La Tour Eiffel n’a jamais été aussi belle, curated by Jeanne Truong Galerie Passage de Retz, Paris, Première Vue, curated by Michel Nuridsany 2004 Espace Console & Galerie Pitch, Paris, L’instant d’avant Musée Zadkine, Paris, Valse
PUBLIC COLLECTIONS Amos Rex Art Museum, Helsinki, Finland Art Gallery of New South Wales, Sydney, Australia Collection Clérmont-Auvergne Métropole, France Dallas Museum of Art, Dallas, Texas EMMA Espoo Museum of Modern Art Espoo, Finland
HENNI ALFTAN
2021 FREDERICK HAMMERSLEY ARTIST RESIDENCY FRAC (Fond regional d’art contemporain) Limousin, France Hämeenlinna Museum of Art, Hämeenlinna, Finland Hammer Museum, Los Angeles, California Heino Art Foundation, Helsinki, Finland Helsinki Art Museum, Helsinki, Finland High Museum of Art, Atlanta, Georgia
Svenska Kulturfonden Young Artist Grant, Finnish Art Society Finnish Fund for Culture, Suomen Kulttuurirahasto Alfred Kordelin Foundation, Finland Kone Foundation, Finland Oskar Öflund Foundation, Finland
Institute of Contemporary Art, Miami, Florida
Pollen Association des Artistes en Résidence à Moflanquin, France
JNBY Art Center, Shanghai, China
Prize, Prix Diamond, Ensb-a, France
Kuntsi Museum of Modern Art, Vaasa, Finland
CNASEA, Délégation régionale Provence-Alpes-Côte d’Azur, France
Portland Museum of Art, Portland, Oregon UBS Art Collection, Global
CNAP–soutien à la première exposition, France CNAP–soutien à la première publication, France
AWARDS RESIDENCIES Stina Krooks stiftelse, Finland Frame Finnish Fund for Art Exchange, Finland Arts Promotion Center Finland, Finnish State Swedish Cultural Foundation in Finland,
2021 Frederick Hammersley Artist Residency, Tamarind Institute, Albuquerque, New Mexico
International Studio and Curatorial Program, The Finnish Institute, New York Lietsalo-project studio of Finnish Artists’ Studio Foundation, Helsinki Salzburg Kunstverein, Künstlerhaus, Austria Kone foundation, at Saari manor, Finland Pollen Association des Artistes en Résidence à Moflanquin, France
PUBLICATIONS 2020 Henni Alftan, On Earth Text by Jeff Rian, Hermione Hoby, Elizabeth Buhe Karma, New York 2019 Henni Alftan Matt Hilvers, Ruth Ige, Andrew Sim Karma, New York
Gyeongju International Residency Art Festival, Gyeongju Arts Center, South Korea
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FREDERICK HAMMERSLEY ARTIST RESIDENCY
Frederick Hammersley (1919-2009) spent most of his formative years, time as a student, and early career in California, where he garnered a reputation as an important abstract painter in the West Coast scene and began a prominent career in geometric hard-edge painting in the late 1950s. In 1949-50, he taught himself lithography and produced an innovative group of prints through which he systematically explored the properties and interactions of color, line, value, and texture on various papers and even fabric. In 1968, Hammersley moved to Albuquerque and accepted a teaching appointment at The University of New Mexico. During this time, he was introduced to Art1, a newly developed computer program that enabled artists to create artworks using a mainframe machine and line printer. The computer drawings he made, which he sometimes called prints, are some of the earliest
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instances of computer art. Hammersley resigned from teaching in 1971 but continued to live and work in Albuquerque, receiving a prestigious Guggenheim Fellowship in 1973 and NEA grants in 1975 and 1977. He continued to paint, draw, and make prints, including a number of lithographs at Tamarind, until his death in 2009. In 2016, the Frederick Hammersley Foundation initiated the Frederick Hammersley Artist Residency and the Frederick Hammersley Apprentice Printer programs at Tamarind as part of
the foundation’s mission to expand the public’s awareness of Hammersley’s art and life, promote the value of art in the life of the community, and support the advancement of artists’ education and creative processes through funding for research and scholarships for art students and other practitioners of the arts.
Opposite: Artist Frederick Hammersley, 2004 Photograph by Dan Barsotti Courtesy Frederick Hammersley Foundation.
Since the 1960s Tamarind has been a place where lithography lives.
Above: Tamarind Institute, University of New Mexico Photograph by Robert Reck, courtesy DNCA Architects.
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TAMARIND INSTITUTE When Tamarind opened our doors in the summer of 1960 on Tamarind Ave in Los Angeles, fine art lithography in the United States was thought to be on its last legs. It was practiced by few printmakers and taught sporadically in graphic arts departments. While our founder June Wayne was said to be bringing back a “lost world” through Tamarind Lithography Workshop, she was actually creating a new one. Tamarind’s start—under her leadership and that of co-founders Clinton Adams and Garo Antreasian—launched a new era in collaborative printmaking. In the Hollywood workshop during our first decade, Tamarind collaborated with artists like Josef Albers, Ruth Asawa, Louise Nevelson, and Ed Ruscha, while also developing extensive documentation and an educational program that would guarantee the future of lithography in the United States and abroad.
Today, Tamarind Institute is widely credited with revitalizing fine art lithography. Our state-of-the-art facility—home to a professional workshop, gallery, and educational institute—is now located along Route 66 in Albuquerque in affiliation with the College of Fine Arts at The University of New Mexico. We house an extensive archive of historic material and a vast print inventory of more than 8,000 lithographs that our team of highly trained printers, curators, and print experts share with collectors and the print community. Tamarind’s publications and technical resources are found wherever printmaking is taught and our extensive network of alumni are at the helm of workshops and art departments all over the world. Our legacy is in the hands of decades of talented printers, artists, educators,
directors, and staff. To mention only a few highlights of the workshop’s six decades: June Wayne (Director 1960-1970) tenaciously began Tamarind Lithography Workshop with support from the Ford Foundation; Clinton Adams (Director 19701985) established Tamarind as a research center and archive based at The University of New Mexico; and Marjorie Devon (Director Emerita 1985-2015) expanded Tamarind’s presence internationally, cultivating an exceptionally diverse artist program. Upon her retirement, Tamarind established an educational scholarship in her name to honor her service. Today, the Tamarind team is led by Director Diana Gaston, alongside Tamarind Master Printer and Workshop Manager Valpuri Remling, and Director of Education Brandon Gunn, who continue to advance lithography and engage a new generation of artists and artisan printers.
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